Bad Robot Warner Bros. Television September 23, 2009

NOTE TO_THE READER The pace of this series is intended to be unusually, almost unspeakably, fast. Sure, we won't deny the script is long. But that’s only if you judge by something as arbitrary as page numbers. So when reading the script, assuming you get past this page, whether it’s an action sequence or just two people speaking, imagine scenes MOVING LIGHTNING FAST. Then imagine them just the slightest bit faster. This will hopefully give you a sense of what we're going for.

OVER BLACK, A MUFFLED CRASHING SOUND. THEN ANOTHER. INT. HOTEL SUITE BEDROOM - NIGHT A MAN BOLTS UPRIGHT with a sharp INHALE -- snapped to attention -- this man is a pro -- he’s LEO NASH, 32 —— another MUFFLED SLAM -- and Leo’s ON THE MOVE —- INSANELY FAST SERIES OF CUTS: HE SLAMS THE BEDROOM DOOR WEDGES A CHAIR ~-~ PULLS ON PANTS —- (SLAM!) ~-- SHIRT -- SHOES (SLAM!) HE GRABS A SMALL SATCHEL ~- CELL PHONE (SLAM!) -- Now he’s AT THE WINDOW, hastily CLIMBING OUT as -- INT. HOTEL SUITE LIVING ROOM - NIGHT CRASHI!! The door is BUSTED OPEN by three DARKLY-DRESSED MEN, all wearing eerie faceless OPAQUE MASKS ~- they’re ARMED . AND THERE TO KILL. A fancy hotel room -- they move for the bedroom -- EXT. HOTEL ~ NIGHT We're looking WAY DOWN the ORNATE building, 12 STORIES, as Leo climbs out -- a distant European SIREN —-- there's BARELY A LEDGE -- his untied dress shoes almost slip —- Leo eyes a balcony to the room next door, but it‘s a tough jump —- Now the SLAM is on his bedroom door! Leo looks down, mind racing -- pulls out a GUN —- AIMS AT THE WINDOW OF THE NEXT BALCONY AND FIRES, SHATTERING THE WINDOW ~- but he doesn’'t go there -~ he grips the satchel handle with his TEETE — then goes the OTHER WAY, making what looks like a DEATH JUMP toward a balcony FARTHER AWAY, ALMOST TWENTY FEET BELOW! His arms PINWHEEL as he DROPS -- LANDING HARD, quickly recovering, pulling a PICK from a pocket .as he tries to hide himself, on the door as INT. HOTEL SUITE BEDROOM - NIGHT CRASH! The three men enter -~ head for the open window as -- EXT. HOTEL - NIGHT Leo works the door lock as ONE OF THE THREE MEN arrives on the ledge and JUMPS to the balcony with the broken window —— CLICK! The door is unlocked -- he opens it as ANOTHER OF THE THREE MEN SPOTS HIM -- they yell to each other RUSSIAN as Leo’s adrenaline rushes -- he opens the door -- INT. HOTEL CORRIDOR - NIGHT Camera RACING, Leo BURSTS around a corner, runs full-bore down the empty corridor, pulls ocut his CELL PHONE -~ CUT TO:

2. WHAM! A hotel room door opens and two of the three MEN are sprinting now -- guns drawn -- INT. HOTEL STAIRWELL - NIGHT Leo BURSTS into the stairwell -- races UP the stairs, dialing his CELL PHONE as he does -- EXT. HOTEL ROOF - NIGHT CRASH -- Leo bursts through the door, running, on his cell: LEO It's Leo! What the hell is thig?! Your guys are making a very bad move right now! -~ a5 he races past exhaust vents -— dwarfed by the ENORMOUS, FULLY-LIT ROOF SIGN READING “HOTEL MASCLET" —- LEO Of course I don’t blame you —- I Scare you -- I scare myself sometimes I seem too good to be true, right? I'm assuming it -- he runs to the edge of the roof —— looks down -- then backs up and JUMPS -~ for a moment we’'re in a WIDE SHOT: holy shit, the Eiffel Tower glittering in the distance -- EXT. ROOFTOPS - NIGHT BOOM ~- he lands -- satchel and cell phone still in hand —- as he RUNS AGAIN, back on the phone: -~ which is fair. But know this: my offer is real, as incredible as it seems ~-- EXT. HOTEL ROOF - NIGHT CRASH -- two of the masked Men race out here -- THEY SEE LEO RACING OFF ON A ROOF, TWO BUILDINGS AWAY -~ they pursue --

INT. APARTMENT STAIRWELL - NIGHT A paint-chipped, narrow stairwell -- the door from the roof BURSTS open ~- Leo races down here —-— EXT. ROOFTOPS - NIGHT The two Men make the jump from one roof to another —- EXT. ALLEYWAY - NIGHT A back door to a building CRACKS open -- Leo races out, knocking over garbage cans -~ he turns a corner -— LEO So listen, when you get this message... assuming I am still alive... CALL. YOUR MEN. OQOFF. INT. APARTMENT STAIRWELL - NIGHT The two Men BURST into the stairwell, head down -- EXT. ALLEYWAY - NIGHT Leo runs down the alley, turns a corner -- he can now go TWO WAYS: one, to a distant busy street, or to a darker alley -~ he goes the way you would never think to go: THE ALLEY -~ INT. APARTMENT STAIRWELL - NIGHT The two Men BOUND down the stairs -— EXT. ALLEYWAY - NIGHT Leo scans the place as he walks fast, out of breath —- takes the ROBOT THUMB DRIVE and HIDES IT PLACING -IT- QUICKLY ON A TALL, HORIZONTAL PIPE that runs along a building wall —- ELSEWHERE IN THE ALLEY, the two Men BURST out of the building. They’re hidden from Leo, around the corner. But Leo turns in their direction -- GUN drawn in one hand, SATCHEL in the other. Leo still can’t see them TIGHT ON HIS TENSE EYES —- aiming the weapon at an enemy yet to arrive —-— trying to control his breathing... and while he’s brave as hell -- what we see here -- in this moment... deep down... is fear. The tension builds towards insanity as we SMASH CUT TO: POSTCARD - LOS ANGELES

4. FUN, AGGRESSIVE MUSIC PLAYS over a CLASSIC SUNNY POSTCARD OF LOS ANGELES, with the CITY NAME in COLORFUL LETTERS -- and the IMAGE MATCH-DISSOLVES TO: EXT. LOS ANGLES - DAY TO ESTABLISH -- and then: SLAM! —-- TIGHT on a CHEF'S KNIFE SLASHING an onion. We’re in: INT. CATERING COMPANY - KITCHEN — DAY Industrial kitchen. Organized chaos. FOUR ASSISTANT CHEFS are busy chopping, mixing, frying, kneading —- OVERLAPPED, charggd discussion between them as SAMANTHA, mid-30's enters: SAMANTHA Where's Lizzy? 1Is my sister here? Stunning even in an apron, Samantha’s not bitchy, just in control; she holds a cordless phone to her ear in one hand, an open NOTEBOOK in the other. One of the Assistant Chefs (wielding a huge tray) passes, not slowing: ASSISTANT CHEF -- haven’t seen her-- oven three for the lamb chops, right? SAMANTHA Yes--no-- oven four, three is fish, two is steak—- {on phone) -- can Lizzy call you back? Another Assistant (JASON, pretentious) approaches: SAMANTHA First get those short ribs out of the pot so we can reduce the sauce-- (to all, louder) Three hours, guys! Anyone seen Lizzy? JASON Behind you. Jason walks off as LIZZY enters. Samantha’s younger sister by five years. A handful. Samantha says a million angry, frustrated things with her eyes:

LIzZZY I know-- totally sorry I'm late. What can I do to help? SAMANTHA You could get here an hour and a half ago. LIZZY Do you want me to start skewering? I know I know T know, I was getting dressed and Jaws was on tv and I couldn’t stop watching and-~ -- and I totally will, clean slate, please SAMANTHA (to another guy) Season as you go, not all at once at the end. (to Lizzy) Skewering can wait. Start frying the wontons-- Liz, we about this. (tasting something) You told us -- more salt-- that you were gonna try harder—- SAMANTHA (CONT'D) (hands her the phone) Someone named Kenny called for you, call him back-- post wontons -- go. Lizzy heads off, Samantha makes an “I may kill her” face to STEVEN, who has entered, vaguely amused by Sam’s fluster; this is her husband, and he holds accounting books: STEVEN Well I finished our budget for the month -~ if we were a mom-profit SAMANTHA is it that bad? From behind Samantha: JASON Sam, this ahi is SAMANTHA Then thaw it! I don't care if you have to give it CPR for half an hour -- THAW! STEVEN IT! That's my lovely Sam, always calm in a crisis.

SAMANTHA You know me, as cool as the other side of the pillow-- hand me that - tray. e STEVEN (as he does) If you’'d like, I can make you even more upset-- As they walk to the ovens, a BUZZER from the other room. SAMANTHA No thanks -- and I thought I banned you from the kitchen after the egg white incident. STEVEN I was hoping that was only at home. They pass a Woman chopping vegetables as Lizzy exits -- LIZZY I'l1l get the dooxr! SAMANTHA Lizzy, please -- hurry-- (to the veggie woman) -- and those need to be brunois-- £ smaller dicing please —- (to Steven) More upset how? STEVEN Mrs., Osro just called and asked for more vegetarian SAMANTHA ur?! For STEVEN Add those to the nine from last week and you have a baker's dozen. SAMANTHA The nine you never told me about? STEVEN I'm telling you, I told you. As Lizzy returns, almost concerned:

e L bACK,, . LIZZY Guy in a suit out front asked to see you and Steven -- together. STEVEN A quy in a suit’s never good. SAMANTHA Tell him we‘re busy, get his info, and make some frigain wontons! (turns to Steven, cooking, as Lizzy exits) You never told me about those meals. STEVEN Sweetheart, of course I did. SAMANTHA Like you “told” me you were buying the convertible. STEVEN Very much like that, only more so. SAMANTHA We’ll communicate about our lack of communication later -- I have vegetarians to worry about. STEVEN Just throw some broccoli rabe and a carrot on a plate, it’s their version of prime rib. LIZZY The suit says he works for an international hotel chain that wants to offer you a substantial consultation position for a significant salary and needs to speak with both of you, now. I’'m paraphrasing. Steven and Samantha look at her, annoyed -- CUT TO: INT. CATERING OFFICE - DAY The guy in the suit is CARLTON SHAW, 56. Once rugged, Shaw’'s now more cynical and grim. He sits alone at a six-seat meeting table like he doesn’t like the smell of the place. Shaw could gut you faster than you could soft-boil an egg.

8. The door opens. Samantha and Steven enter, she’s trying to hide her fluster, smiling bright: SAMANTHA STEVEN —-- sorry to keep you waiting-- ~-- yes, we’ve got a job (extends hand) tonight, so~- -- hello, I'm Samantha —- SHAW {shakes hands joylessly) I know who you are. The way he said it, Samantha and Steven slow to a freeze. The energy of the room turns weighty. Knowing. SHAW (CONT’'D) Are we secure in here? SAMANTHA (still holds his hand) ... We are. SHAW Then let’s close the door, hm? Samantha lets go of Shaw’s hand as she turns to Steven. The couples’ eyes meet much is said in that silent instant. Steven then closes the door, says, not really asking: STEVEN So what does that mean, “You know who SHAW Steven Bloom, Los Angeles native, ~-UCLA-graduate, ... . Intelligence in ‘97, following your brother, who’'s been with us since ‘89, You've been stationed in Korea, France, Hong Kong, Singapore, Germany, you’ve run six major-board operations in Europe and Asia. Expertise: combat, cryptography, communications and security tech. You now oversee the business end of a catering company. (turns to Samantha) And you’re Samantha Bloom~- SAMANTHA --you don’t have t--

SHAW ~- born Samantha Gilliam, New York City, attended Columbia on scholarship, Language Studies. Played lacrosse, rowed crew, job with the UN week after graduation -- the Agency had an eye on you, within a year, we’'d recruited, trained, and sent you undercover to Europe. Four years you worked eleven countries, then a three- month mission in the Middle East. Skills: burglary, disguise, translation. - And today... you’re a chef. I also know that you were involved in Operation Black Swan along with this man. Shaw has pulled a 4x6 BLACK AND WHITE SURVEILLANCE PHOTO from his jacket and dropped it on the table. IT’S LEO NASH. Samantha and Steven look at the photo. Uh-oh. SHAW (CONT'D) Agent Leo Nash. 1Is missing. Samantha and Steven' 8 eyes hold on the photo for a long beat. Instantly we intuit: this history -- their spy past -~ is something unresolved between them. STEVEN Excuse me, and you are--? SHAW Carlton Shaw. Been with the BAgency thirty-two years-- desk, then, coldly) —— you can check my bona fides and record on your own time. I‘m here to see if you'd assist us in locating Agent Nash. They take this in. His attitude, too. Then: STEVEN Why us, Mr. Shaw? You've done your research, you know we resigned almost SHAW -~ Seven years ago, yes. I‘m here because Operation Black Swan is still in effect. (MORE) —

10. SHAW (CONT'D) Leo Nash was running it on his own - - the last agent who worked on that operation with him was you, Mrs. Bloom. {(now, to Steven:) And you met Mr. Nash at The Farm -- trained together, became good friends-- STEVEN -- what was Black Swan? Shaw is surprised that Steven doesn’t know -- so Samantha reveals their secret: SAMANTHA Steven and I never discussed operations. When we met, we made a promise to honor the classified nature of what we each did, and we’‘ve stuck to that. SHAW Well let me unstick you: Black Swan is the Agency'’s ongoing mission to find and capture Alexander Slotsky. Weapons dealer, blackmarket s-- STEVEN I know who Slotsky is. SHAW Nash claimed he was getting close. Have either of you spoken with him recently? T . Leo? No, not for years... STEVEN when you say “missing”...? SHAW Nash had a scheduled meet seventy- two hours ago, but failed to appear. STEVEN seventy-two hours? Mr. Shaw, what you have isn’t a missing person, it's a bender. Have you met Leo Nash? He doesg this: he drinks, then he disappears-- for weeks at a time-- he’s reckless. (MORE)

STEVEN (CONT'D) Which is partially what makes him such a good SAMANTHA But you think he’s in trouble. SHAW We don‘t know. Are you two willing to help us find out? And Samantha and Steven look at each other for a long, uncertain beat. Major conflict. Finally: SAMANTHA There must be active agents who haven‘t been out of the field for seven years who can help find Leo better than we might...? SHAW I’'11l tell my office you’ve declined. (heads for the door) No surprise there. STEVEN SAMANTHA Now hold on-- I don't like 7 your tone! -- Steven -~ B -- I don’t like his tone! SHAW (CONT'D) You're not wrong, Mr. Bloom: I'm having trouble putting on a game face for you. Truth be told, after -—.reading your file, here was a waste of my time. wWhy would you two come back to assist an agency you abandoned? That invested in you, gave you the honor of serving your country-- STEVEN You’'re not really giving us a speech about patriotism-- SHAW Well if not me, perhaps someone should. read your file, how you never worked together, but found “difficulty maintaining a relationship while remaining separate field agents” -- my heart broke for va. (MORE)

12. SHAW (CONT'D) You wanted “a normal life” -- well maybe I'm old fashioned, or just sick of seeing sacrifice get " sacrificed for the sake of comfort time and again, but I know how you gan leave once you’re in. “Difficulty” is a luxury, Mr. Bloom, that some of us -- myself included —- just suck up and deal with. But not you. You deserted the rest of us. So now it’s the job of a career agent to beg two caterers for help with national security —- well you know what? I've got some “difficulty” with that. PBut I did it, I. (opens the door) be at the Standard Hotel until tomorrow night if you change your mind. Have a nice party. A firm close of the door and Shaw is gone. Samantha and Steven are just stunned. EXT. BACKYARD - NIGHT A fifty-person wedding. A four man band playing “It Had to be You,” a dance floor on the grass. Right now, guests are dancing, as are the BRIDE and GROOM. Through the crowd, Steven and Samantha carry a three-tiered wedding cake around the side of the dance floor. SAMANTHA Slow down, it’s not a race. i STEVEN oo "It will be to the cake. Did you see those bridesmaids? SAMANTHA STEVEN That’s not nice-- (re: cake wobbling) --Relax, I've done this before. I'm a professional. ~~ careful-- (laughs) (pretends . to wobble) Steven, stop-- here Whoa... gently... They've set the cake upon the table near the dance floor -- Samantha arranges the dessert plates and silverware —-—

13. SAMANTHA S0 cutting the cake’s after this dance, which means if lezy s doing her job, which I pray she is, we could be cleaned, packed and wheels up by 11:15-- Samantha sees that Steven is staring -- she looks -- he’s watching the Bride and Groom as they slow dance. In love. She eyes Steven for a moment, then just stares again at the newlyweds. Without looking, Samantha reaches, touches Steven’s hand. He takes hers in his. SAMANTHA (CONT'D) Do you think they’ll still be dancing seven years from now? STEVEN You mean with each other? Eyes on the couple, a small smile from Sam. Then, wistful: SAMANTHA I can’t remember the last time we danced. He can’t either. Which surprises him. Then, a good memory: STEVEN We danced all night at our wedding. SAMANTHA We had a nice wedding. STEVEN Ad . e SAMANTHA remember Leo that night? STEVEN Drunk with sunglasses on. SAMANTHA Half the night. STEVEN Sunalasses half the night, drunk the whole night. SAMANTHA That toast he gave--

14, STEVEN I still don’t understand it. SAMANTHA It was sweet. STEVEN It was rambling and erratic and ridiculous... (beat, missing him) ... a lot like Leo. The song ends, Samantha looks to Steven as in the background the BAND LEADER announces that it’s cake time. Sotto: STEVEN (CONT‘D) He's fine. SAMANTHA What if he’'s not? STEVEN Then he’ll get himself out of it. Leo’s very good at what he does. Just ask Leo. The Bride and Groom arrive, all smiles. Guests gather. BRIDE Thank you 8o much, it’s been so amazing, you guys are the best. SAMANTHA It’s our pleasure, congratulations. Sam_and SAMANTHA (CONT'D) How come we never see him anymore? STEVEN Because still out there saving the world. (beat) And we’re The bride SMUSHES the cake in the Groom's face as the crowd APPLAUDS., Steven and Samantha half-heartedly clap too. EXT. LOS ANGELES - NIGHT A Prius on Santa Monica Boulevard, West Hollywood traffic. H

15. iy INT. PRIUS - NIGHT Steven drives. Samantha leans her head against the window. Just the sounds of the tires on the road. Finally: STEVEN That went well. SAMANTHA Considering everything. STEVEN (beat) Vegetarians seemed happy. SAMANTHA Carnivores too. More silence. SAMANTHA (CONT'D) STEVEN You hungry? No, I ate all your food-- we . could stop at the one -~ no, it’s late... restaurant we go to-- . -— It’s no big deal-- no, I'1ll have... something at home... you sure? yeah--— Yet another silence, STEVEN ‘kay. As they drive on, not talking... INT. STEVEN & SAMANTHA'S HOUSE — KITCHEN - NIGHT Nice kitchen; the best room in the house. Samantha, still in catering clothes, stands at the island, eats peamut butter out of the jar, watching NEWS on a small TV, She doesn’t turn around as Steven enters, having taken WALDORF, their large mutt, for a walk. As Steven removes the leash: STEVEN You could’ve made a sandwich. SAMANTHA (licking the spoon) I‘m done making things for the day. Gently amused, he kisses the back of her head as he passes her, heading to the bedroom. Her eyes stay on the TV.

16. STEVEN See ya in there. SAMANTHA As soon as I empty this jar. INT. STEVEN & SAMANTHA'S HOUSE -~ BATHROOM - NIGHT Alone, Steven brushes his teeth, in a t-shirt and boxers. Watching his own reflection. Not an unhappy man. But that may be the best thing you could say at the moment. INT. STEVEN & SAMANTHA'S HOUSE - CLOSET - NIGHT A small, somewhat messy walk in closet. Samantha opens a drawer. We see some LINGERIE, She glances at it for an exhausted beat, then opens the drawer above it: T-SHIRTS. INT. STEVEN & SAMANTHA’S HOUSE - BEDROOM - NIGHT Samantha, in a t-shirt and pajama bottoms, flicks off the bathroom lights. She falls into bed next to Steven, who tosses the VINTAGE CAR magazine he was reading. She gives him a KISS -- a sweet kiss —- not too quick. Then: SAMANTHA Night. STEVEN Mmm, peanut butter, He kisses her again. Slightly hotter -- but not quite “hot”. STEVEN (CONT’D) You feel like it? I do... but I'm so exhausted-- STEVEN SAMANTHA {(me too, truly) Trust me, I know, I just thought-- —-- I know, we’'re so overdue -- (sweet, intimate) -~ tomorrow night. For sure, okay? They both know there’s maybe a 50/50 chance of that. But neither is really upset about it. STEVEN It’s a date. o

17. Another quick kiss and they roll over, so they’re comfortable but back to back. Steven lies awake, contemplating his marriage. Samantha’s eyes are OPEN as she does the same. A distant ROARING SOUND gets LOUDER -—- LOUDER -~ SMASH CUT TO: EXT. PACIFIC COAST HIGHWAY - DAY Blazing sun, blue sky -- Steven SPEEDS in his VINTAGE ALFA CONVERTIBLE, eyes determined. HEAR A LOUD KNOCK and -- INT. SHAW’'S HOTEL HALLWAY/HOTEL ROOM - DAY A hotel room DOOR OPENS -~ MR. SHAW has opened it -- it's Steven who has been knocking. Shaw is vaguely surprised. STEVEN Despite your tone, I’'1l help you find Leo Nash -- but only under specific conditions -~ the most important of which is that my wife can never know about my involvement. Ever. Do you understand? Shaw just opens his door, REVEALING SAMANTEA already standing inside -~ angry at him. STEVEN (CONT'D) Hey honey. SAMANTHA M ife n X ? STEVEN I would have told you. Somehow. -Eventually. -- one.day. SAMANTHA I'm not sure you would have! STEVE Sweetheart -- I didn‘t want you to know because I know how m-- (realizing) -- hey, you came here without telling me! SAMANTHA That’s totally different! STEVEN In no way is it different!

18. SBMANTHA Yes, because it’s me! And I have my reasons for coming here! STEVEN Okay, what are they? SAMANTHA What are yours?! SHAW Guys. (they stop, look to him) As much as I'm enjoying this, my plane leaves in two hours. I'm either on it or I'm not. (a beat) Are you in or out? Steven and Samantha both know the answer. Deep breath, then: STEVEN SAMANTHA We're in. We're in. They look at each other, MUSIC BUILDS as we CUT TO OPENING TITLES -- END _OF ACT ONE

e gonna-do. 19. ACT TWO INT. CATERING COMPANY - OFFICE - DAY VARIOUS TIGHT SHOTS on an open FILE —- a broken CIA SEAL, official REPORTS, various B&W PHOTOS, including one of LEO: STEVEN (V.0.) We know that Leo Nash disappeared four days ago SAMANTHA (V.0.) -- that he was still running an operation to catch Alexander Slotsky -- SURVEILLANCE PHOTO of a dapper 45 year-old RUSSIAN MAN, -SLOTSKY. 1In the office, Samantha sits, Steven paces: STEVEN (V.0.) INTERPOL's perennial most wanted and a favorite of terrorists and Yankee fans everywhere. SAMANTHA There’s nothing else here. The Agency’s got no leads, no suspects, nothing. STEVEN That’'s why they came to us-- what do we know about him, what do we remember? SAMANTHA ‘thing we never did? STEVEN What, go to the Burning Man Festival? SAMANTHA Work in the field together. Be partners. Is it going to be weird? STEVEN Let’s just take one step at a time: how d’you want to approach this operation? I mean who's on point, you or me?

SBMANTHA God, I know -~ let’s approach it like our marriage. STEVEN Okay, so you're on point. SAMANTHA No, I mean we do it together. STEVEN Really? that how you see us? Wow, coel. Okay —- (starts to write) I know some contacts Leo used-- SAMANTHA What about his hideaway? (on Steven: huh?) In Madrid. He never revealed it to the Agency, he used it as a zort of uncfficial base of operations. INT. GOVERNMENT SEDAN - DAY Shaw drives. His PHONE RINGS, he answers: SHAW This is Shaw. INTERCUT WITH: INT. CATERING COMPANY - OFFICE - DAY We need a flight to Madrid this afternoon. SHAW Done. SAMANTHA And an agent in the field who can work background-- SHAW I’1l have someone meet you in Spain. 20.

21, STEVEN -- they’1ll need to provide equipment -- gear, weapons, disguises, transportation-- SHAW Did you hear what I said? Whatever you two need, you get. Anything. On Steven and Samantha as the reality sets in. They smile. STEVEN ... this is kind of exciting, huh? SHAW I'm tingling. Shaw HANGS UP on him as we CUT TO: INT. CATERING COMPANY - KITCHEN - DAY A few BUSY COOKS as Samantha, with a BINDER, follows a very nervous Lizzy through the kitchen as she cooks -- . What do you mean you’re not gonna be at the Katz Bat Miztvah?! SAMANTHA If this hotel hires us, do you realize what it does for business? LIZZY If I destroy this Bat Mitzvah, do you realize what it does to Rachel SAMANTHA Stop it: Rachel Katz is going to . become a woman this Saturday and going to feed her when she does. LIZz2Y -~ never run a party alone before, Sam. And I'm-- (sotto, as if it‘s news) -- recovering. SAMANTHA I trust you. LIZZY Don’t. -

22, SAMANTHA (opens the binder) You’ve worked with me on dozens of jobs -~ this menu's yery easy-- LIZZY I cook this, I don’t manage people well -- there’s gonna be an open bar, I'm not sure my new sponsor is sober and my only lifeline is you-- SAMANTHA Jason’s in charge of the cooking, just get there four hours early and act like you‘re comfortable-- it’s a buffet with no passed hors just make sure the chafing dishes stay filled -- you can do this, Lizzy, I know you_can. Samantha hands her the binder, passing the torch. Lizzy takes a deep, scared breath, half-accepting the job. LIZZY If I need you you‘ll only be in San Francisco, right? That’s close. SAMANTHA Of gourse. We'’ll be so close. Off Samantha‘s reassuring smile -~ MUSIC SWELLS -- CUT TO: POSTCARD - MADRID STCARD.. COLORFUL LETTERS -- and. the IMAGE MATCH-DISSOLVES TO: EXT. MADRID STREET ~ LA LATINA DISTRICT - DAY A BLACK AUDI S5 COUPE WINDS THROUGH THE NARROW STREETS. INT. AUDI -~ DAY Steven drives while Samantha looks out, eyes alert on her surroundings, not looking at him: SAMANTHA You know bizarre? STEVEN Those Basengi dogs that don'’t bark, but yodel? / 5

23. SAMANTHA This doesn’t feel weird at all. STEVEN happy) ... I know... She smiles too as they turn a corner. EXT. APARTMENT BUILDING - DAY A yellow building with a bodega on the ground floor. BOOM DOWN as the Audi arrives in the foreground. Samantha eyes the familiar structure, which Steven sees for the first time. SAMANTHA That‘s the one. INT. APARTMENT BUILDING - STAIRWELL - DAY Our couple hustles up the old staircase —- PRE-LAP a BUZZER. INT. APARTMENT BUILDING - HALLWAY - DAY Steven hits the apartment BUZZER. Samantha’s beside him on look-cut, GUN drawn but hidden. No answer. STEVEN You mind if I pick the lock? SAMANTHA Sweetie, you don’'t have to ask my permission to pick a lock-- STEVEN picking locks as much as I do. SAMANTHA I do, but I'll get the next one. STEVEN You're the best, QUICK CUTS: Steven pulls out a small CASE, PICKS THE LOCK with a PICK GUN -- Samantha SCANS the area -- then a SOUND -— they stand, feigning innocence: a TEN YEAR OLD KID DRIBBLES a soccer ball down the stairs. Once he’s gone, re: the lock: SAMANTHA -~ need some help with that? Eyes on her, cocky, he TURNS THE KNOB: the door opens ~-

24, INT. APARTMENT - DAY o They enter, GUNS Steven closes the door, PROPS & FOUND UMBRELLA against it as a warning mechanism. They SCAN the small apartment: BEDROOM, KITCHEN, BATH, LIVING ROOM: STEVEN We’re clear. SAMANTHA Let’'s see what we can see, SERIES OF QUICK HANDHELD SHOTS AS THEY SEARCH EVERYWHERE: SOFA CUSHIONS LIFTED, REFRIGERATOR OPENED, DESK DRAWERS SCOURED SAMANTHA CHECKS THE UNMADE BED (REALLY CONSIDERS IT -— IS SHE GONNA CUT OPEN THE MATTRESS?) -- THE BACK OF THE TOILET LIFTED, EMPTY, STEVEN OPENS THE CLOSET, PUSHES ASIDE CLOTHES, FINDS AND LIFTS A FALSE BOTTOM, revealing a TROVE OF SURVEILLANCE GEAR AND WEAPONS. SAMANTHA (0.S.) (CONT'D) T got something! Steven meets Samantha in the kitchen -~ a TRASH BASKET emptied on the table -- crumpled PAPER and some RECEIPTS. She holds up one in particular. SAMANTHA (CONT'D) STEVEN — ) Receipt from the day before (reading) Leo disappeared. Cafe Central, Plaza del Angel. ~- two cafes con leche. ~- he was with someone. -~ I know this place, it’s a few blocks away. Spirited STREET MUSIC PLAYS over this Madrid outdoor cafe. Samantha and Steven at a table in the Spanish sun, casually scanning the area as they drink their cafes con leche among the locals and tourists. Discreetly: SAMANTHA Traffic camera on the corner -- STEVEN And the bank across the street. ~- we see, over their shoulders, through light traffic, the BANK office, people at an ATM —- SAMANTHA Yeah, that ATM looks promising--

25. STEVEN It's easier access to the bank'’s security than the traffic cam. A MAN selling an armful of ROSES arrives: MAN rosa para la sefiora? STEVEN gracias, nosotros estdn muy bien. MAN (leans in, importantly) Una rosa, sir, la recomiendo. STEVEN ¢Usted me Dije no. The Man leans CLOSER -- Spanish accent suddenly GONE, sotto: MAN I'm not Spanish. At all: I'm Hoyt. Bill Hoyt, your contact agent. They really look at this 27 year-old in a fake mustache. It all looks normal, as Steven pulls out his wallet: STEVEN We didn’t know when you'd turn up. During this, exchanging money for a rose: HOYT right, and can I say -- and I know I can be sycophantic later, but what a thrill it is to be working with you, Mr. Bloom, you’‘re kind of a legend to me. And having the opportunity to learn from you and follow you and currently sell you a flower, it’s an honor. SAMANTHA I love him, a huge fan also, but did you say my husband‘s a legend? HOYT I studied his file when I was in training -~ (to Steven, knowingly) -- the Senegal incident--?

26. STEVEN (quickly changes subject) We need all details on the security services for the bank across the street: uniforms, ID’s, account history, standard hacking gear and an override of their phone system. HOYT I'mon it. T just hope I live up to your incredible standard. (to Samantha) Oh-- nice to meet you, too, ma’am. Hoyt heads off -- they watch him go. Genuinely: SAMANTHA So, what happened in Senegal? STEVEN Are we really gonna tell each other everything we never talked about? SAMANTHA More pressingly, would it have been s0 awful to buy me a flower? STEVEN This isn’'t exactly our honeymoon. SAMANTHA It takes a honeymoon to buy me a rose? Finishing his coffee, he considers what she just said. He takes it, smells the beautiful flower. BAs if the idea just occurred to him... STEVEN Hey... do you feel like breaking into a bank with me? She smiles, like a schoolgirl asked out by the gquarterback. SAMANTHA Yeah, I think I'm available... And he smiles too, and our MUSIC BUILDS AND WE CUT TO BLACK. ND ACT TWO

27. EXT. MADRID - DAY Gorgeous streets, SPANISH ROCK MUSIC POUNDS, and we CUT TO: INT. BANK CAJA MADRID - RECEPTION - DAY Steven and Samantha, SLO-MO, in AMF SECURITY COMPANY JUMPSUITS, ENTER. UPCUT: they talk to the bank MANAGER. They speak ENTIRELY IN SPANISH here, with SUBTITLES: MANAGER No one called about a system upgrade. SAMANTHA Belicia was supposed to call-- (to Steven, pissed) She didn‘t call. I will kill her. STEVEN We're replacing the central server. - MANAGER This wasn't SAMANTHA The main office knows about it. The Manager, peeved, moveg away from them, grabs a phone and dials -- as the phone RINGS, we INTERCUT WITH: EXT., MADRID SIDE STREET -~ DAY a parked HONDA, headset on, laptop and jerry-rigged magnetic antenna on his door. He rips off his fake mustache as he traces the REROUTED CALL -- an INFO WINDOW on his screen tells him who the Manager’s calling -- Hoyt hits three fast keys, answers the phone (SPANISH, with SUBTITLES): HOYT Caja Madrid Security Division, this is Wardo. MANAGER This is the manager of the Latina Branch -- is there a scheduled security upgrade today? HOYT Did Belicia not call you? She is so fired. (MORE) .

28. HOYT (CONT'D) My apologies ~- Mr, Torres asked we 2 upgrade your system today-- MANAGER Oh... this comes from Torres--? INT. SECURITY OFFICE - DAY Manager leads Samantha and Steven into a SMALIL BASEMENT SECURITY ROOM: a number of DATA RACKS AND COMPUTERS, PHONE AND ELECTRICAL BOXES. 1In SPANISH: MANAGER 1’11 be upstairs. The Manager leaves -- Steven and Samantha go to work: he pulls VARIOUS SMALL COMPUTER COMPONENTS from a GEAR BAG, begins ATTACHING WIRES TO THE BACK OF THE DATA RACK SAMANTHA TYPES at the BANK'S COMPUTER CONSOLE, which blinks for a 7 digit password. SAMANTHA We need an access password, Steven’s FAST: he pulls a black cigarette-box-sized DEVICE from the bag -- alligator clips it to the wire between the computer and its keyboard -~ hits a few keys -~ NUMBERS TUMBLE on the device’s READOUT. Samantha smiles at Steven P liking seeing him in action. All SEVEN DIGITS APPEAR. { STEVEN There ya go. SAMANTHA Thanks, Honey. He goés badk to the Qear as éhe works the computer STEVEN Toggle through the monitors -- Samantha hits computer keys, gets through various MENUS, until a WINDOW APPEARS on her computer screen —~ AND the small recording device Steven is holding ~- it’s a BLACK AND WHITE IMAGE of the MAIN OFFICE BRANCH, TIME STAMPED. Samantha keeps changing the monitors -- we see almost all angles of the branch as she does -- STEVEN (CONT’D) -~ nope -- nope -- nope —- Finally she lands on the ATM CAMERA ANGLE —- with a view of the CAFE they were just sitting in.

29, STEVEN (CONT’D) Hello, ATM camera. SAMANTHA We gotta go back four days. Samantha types -- TIGHT ON THE DATE TIME STAMP as it REVERSES -- the image a BLUR of REVERSE activity -- t STEVEN You look cute. You think this is hot, you should see me in my beekeeper suit. INT. BANK CAJA MADRID - DAY BIG, WIDE-ANGLE PUSH IN on the Manager, at his desk on the main floor of the bank as his phone rings. He answers: MANAGER Tiago, MALE VOICE It’s Torres, you have a minute? MANAGER { Yessir, I was just dealing with the security upgrade, it’s all taken care of. MALE VOICE (V.0.) ... what security upgrade? Hoyt HEARS THIS CALL on his headset —- sits up, tense: HOYT -- oh crap -- Hoyt grabs his CELL PHONE ~~ STEVEN (PRELAP) lock -~ there’s Leo-- INT. SECURITY OFFICE - DAY ON SAMANTHA'S MONITOR WE SEE LEO AT THE CAFE, at a table with a MAN WHOSE BACK IS TO CAMERA. Steven sees it on his device:

30. STEVEN SAMANTHA but who’s he with? ~-- record it -- we're recording -- INT. BANK CAJA MADRID - DAY The manager MOVES QUICKLY through the main office, toward: INT. SECURITY FOOTAGE AREA - DAY Our couple watches Leo slide an envelope across the table. STEVEN that-- what’'s he giving him? Samantha’s PHONE RINGS -~ she answers: SAMANTHA Yeah--? INTERCUT WITH: INT. HONDA -~ DAY Hoyt on his phone: HOYT Get the hell out of there, now! SAMANTHA {(hangs up) We gotta move -- QUICK CUTS as they DISCONNECT their gear -- The Manager races down a stairwell, turns a corner into the basement level -- INT. HALLWAY -~ DAY MOVE FAST with the Manager as he arrives at -- INT. SECURITY OFFICE - DAY The Manager enters, out of breath, TO FIND THE OFFICE EMPTY! Our MUSIC SOARS as we CUT TO: EXT. BANK CAJA MADRID - SIDE EXIT - THE BACK DOOR BURSTS OPEN as Samantha and Steven race from the bank in WIDE ANGLE SLOW MOTION, full of excitement -- a joy and rush of adrenaline they haven’'t felt in years.

31. SAMANTHA (PRELAP) ... what do you think? STEVEN (PRELAP) I think you know what I think. INT. HOTEL ROOM - DAY Samantha and Steven in a Spanish hotel, watching the GRAINY BLACK AND WHITE, SLO-MO, STEP-FRAMED VIDEO OF LEQ AND THE MYSTERY MAN AT THE CAFE; she ADJUSTS THE VIDEO CONTROLS. A HANGING GARMENT BAG HANGS OVER A CHAIR BESIDE THE MAN, AS LEO PASSES HIM AN ENVELOPE. Hoyt watches over their shoulder. STEVEN That we've got a rogue CIA operative handing an envelope to a man we haven’'t identified-- SAMANTHA “Rogue” -- who'’s rogue? You said yourself Leo’s probably just drunk. STEVEN He looks pretty sober here. HOYT (holds up a water bottle) Mr. Bloom, you thirsty? STEVEN What? No, thank you, I’'m busy accusing an old friend of treason-- STEVEN But I don’t think it is and I think you think it is, either. (to Hoyt) You know my wife might enjoy a beverage. HOYT Oh-- of course: you thirsty, ma’am? SAMANTHA No thanks-- look -- what's that? Steven looks as Samantha ZOOMS IN on the hanging bag at INCREASED RESOLUTION -- again and again until we see a TAG dangling from the metal hanger. As the RESOLUTION INCREASES, we see that it’s an inverted SILHOUETTE OF A MAN IN A SUIT. his ‘could be completely innocen

32. ) Samantha and Steven -- and Hoyt -- look at it curiously, all of their heads COCKING TO THE SIDE as they look at it then we‘re BACK ON THE IMAGE as our CAMERA ROTATES, until the SILHOUETTE IS RIGHT-SIDE-UP -~ and we DISSOLVE TO: EXT. MADRID STREET - MAGIC HOUR We’'re looking through a MONOCULAR at the SAME ICON, only now it's large, on a STORE WINDOW of a small TAILOR SHOP that’s been there since ‘68. The 87 year-old TAILOR himself leaves the shop for the night, locking up. Over this: SAMANTHA (V.0.) Leo wouldn’t do that. Tuzrn. INT. AUDI - MAGIC HOUR Steven watches through a cool little POWER SCOPE, Samantha beside him. Both in dark clothing. He lowers the scope: STEVEN I can’t believe saying that, you're suspicious of everyone. SAMANTHA Oh, hardly. Just clients mostly. And old high school classmates who keep Facebooking me. And my sister, obviously. TIGHT INSERT ON A BACK ALLEY DOOR -- the LOCK being QUICKLY PICKED by Steven observing, behind her: STEVEN SAMANTHA Funny how you fer the T pick gun. -~ really? so good. ~-No, I'm a raker. .. She turns the HANDLE -- THEY'RE IN —- and PRE-LAP: STEVEN (V.0.) There's no evidence Leo was making any progress in finding Slotsky... INT. TAILOR SHOP ~ NIGHT We're now INSIDE the darkened tailor shop -- the logo graphically silhouetted on the glass. Inside, Steven and Samantha scour the place, with tiny flashlights:

33. STEVEN Maybe Langley was starting to get suspicious of him. SAMANTHA You don‘t think they’ve sent us to rescue Leo, but to capture him. STEVEN Well what was that envelope? Who was he meeting? Where’s he gone? SAMBNTHA Let’s figure -out who he was with. Hopefully that 11 lead us to where he is. Partying somewhere, I'm sure, having the time of his life. INT. ROOM - NIGHT SLAM! Leo’s just been PUNCHED in the face. An ND INDUSTRIAL ROOM with a steel desk in the corner -- a BRIGHT LIGHT aimed at Leo’s face. He’s cuffed to a steel chair, facing a Russian THUG. Desplte that, Leo’s still confident. THUG Admit. CIA sent you here. LEO You know what I love? Your tenacity. I keep telling you: I'm done with the CIA, I want out. I'm tired of being treated like a pawn. I put my ass on the line -- ln some of the most d R R R S PR 2 and free flight to my next operation. THUG We do not believe. LEO Well we should believe, ‘cause I can help you. I can get you a document that is wvery valuable. So don’t blow this. And by “this” I mean “me”, this opportunity. I just didn‘t want to say “Don’t blow me.” But don‘t blow me. The Thug moves to Leo, reaches and grabs Leo’s LEFT RING FINGER AND SNAPS IT TO THE SIDE, BREAKING IT -- Leo YELPS—-

34. LEO (CONT’D) Okay! Okay-- I was going to wait to tell your boss this -- but I've hidden something. Proof that I can deliver the document —- it’s in a locker in Atocha train station in Madrid. Send someone there. Locker 318. THUG ... 318, Sweating in pain, but forcing a smile: LEO 318. Mr. Slotsky will like what he finds. INT. TAILOR SHOP - NIGHT Samantha and Steven hunt through a mess of papers: SAMANTHA I can’t find anything. STEVEN This guy must be the messiest tailor in Spain. SAMANTHR Wait ~- look -- a datebook-- {reads the found book) Four days ago -- the only entry all day: suit pick up at 3:15 PM, STEVEN “Juego contacto-rayado azul, Boda de SAMANTHA “Blue pin-striped suit, Cabrera wedding” -- Steven whips open a small SATELLITE-CONNECTED NETBOOK -- connects to a SECURE CIA DATABASE -~ as he TYPES: STEVEN If we can find the Cabrera wedding, spot a guy in blue pin-stripes, I bet we can find out about Leo-- Samantha has found a hanging, gorgeous, blue dress.

35. SAMANTHA Guy's messy but he does pice work. STEVEN (re: computer) Cabrera wedding doesn’t show up in any database. CIA, FBI, NSA, it's a dead end. SAMANTHA Gimme that. She starts typing, holding the screen facing only her. STEVEN What are you doing. (beat) What are you looking for. (beat) I hate when I talk to you and you answer. {beat) Can you hear me? Go to the light, Carol Ann-- She hands him the computer, and walks off. He reads it: - STEVEN (CONT’D) { wedding, Montez Vineyard, Jerez Spain” -- what is this? she turns back, smiling, pulls out her cell -- SAMANTHA hours they’re registered at El Corte Ingles if you wanna get them some bone china. Steven beams, bowled over by her as she DIALS -- STEVEN You are the greatest. SAMANTHA Look who’s getting married. STEVEN Gia Cabrera -- daughter of the Spanish Defense Minister.

36, ) SAMANTHA Which means high security-- we’re % not walking in the front door-- (on phone) Hoyt! the woman married to the man you love -~ we need a whole bunch of stuff really fast-- The SOUND OF AN ENGINE ROAR takes us to: EXT. HIGHWAY - NIGHT The Audi RIPS down the highway, PAST CAMERA -~ EXT. AIRFIELD - NIGHT BOOM DOWN as the Audi pulls up -~ Steven and Samantha jump out -- meet Hoyt as they board the idling G4 JET -- EXT. SKY - NIGHT The G4 SCREAMS past camera, IN FLIGHT -- INT. G4 - NIGHT Steven and Samantha finish putting on BLACK JUMP SUITS and HELMETS. Hoyt helps fit them with tiny EARPIECE RECEIVERS ~- } BOYT I hope you’'re satisfied with the gear, Mr. Bloom. You can’t go in unprepared. We don’'t need a repeat of your mission in the Balkans in ‘98. Senegal. The Balkans. He knows more about your past than I do. HOYT These are standard receivers, we'll all be able to communicate with each other at all times—- (a BUZZER sounds) -~ we're at drop zone, you ready? STEVEN Let’s go find out what illegal stuff Leo was doing. . Hoyt opens the JUMP DOOR -- AIR BLASTS ~- over the DIN:

37. SAMANTHA I'M TELL TURN AGAINST THE AGENCY! STEVEN AVEN'T TALKED HIM IN N YERRS! PEOPLE CHANGE., SaM! SAMANTHA NOT LEQ! NOT LIKE THAT! STEVEN HOW ARE YOU SO SURE?! I _JUusT AM! STEVEN OU REALLY THINK Y KN IM THAT WELL! SAMANTHA I STEVEN HOW? ! Samantha debates whether to tell him something, Then: SAMANTHA EOQ DI U Samantha JUMPS OUT. Steven takes a beat, turns to Hoyt. No, sir. Steven JUMPS AFTER HER. And we... CUT TO BLACK. T TH

38. ) ACT FOUR EXT. VINEYARD - NIGHT Peaceful among the grapes. In the deep distance, a wedding at the buildings. A WHOOSHING SOUND as SAMANTHA LANDS FROM THE SKY, black parachute trailing. She quickly gathers her chute as, behind her, Steven makes a landing. As they gather their gear, but spiritedly: STEVEN You used to go out with Leo? And you’re just telling me this now? SAMANTHA First of all, it didn’t mean anything, and secondly, you and I agreed that we would leave our Agency past behind us. They unzip their JUMP SUITS, but because it's DARK, in SILHOUETTE, we can’t really see what they’re wearing: STEVEN How long didn’t it mean anything for? 3 SAMANTHA o I don’t know. Eight months. He’'s out of the jump suit now, she’s still prepping. STEVEN Eight months? Really? Is that -Short. nothing? SAMANTHA Can we talk about this later? We’re late for a wedding. STEVEN Fine. See you inside. INT. WINERY - BANQUET ROOM - NIGHT A BEAUTIFUL, ELEGANT, COSTLY WEDDING. Night and day from what Sam and Steven cater; this feels like the wedding of a daughter of a diplomat. 150 GUESTS, lots of stones and Italian cloth. A twelve~piece BAND PLAYS a SLOW SONG, and people DANCE. MOVE THROUGH the crowd, hearing various snippets of conversations in many EUROPEAN LANGUAGES. Arrive at a pair of French doors that lead outside, to find Steven, entering. He looks DASHING in a perfectly-fitted BLACK SUIT. He takes a champagne glass from a Server.